The reception was divided and passionate. The book and show unabashedly forced the art world to deal with color photography, a medium scarcely taken seriously at the time, and with the vernacular content of a body of photographs that could have been but definitely weren't some average American's Instamatic pictures from the family album. These photographs heralded a new mastery of the use of color as an integral element of photographic composition. Bound in a textured cover inset with a photograph of a tricycle and stamped with yearbook-style gold lettering, the Guide contained 48 images edited down from 375 shot between 1969 and 1971 and displayed a deceptively casual, actually super-refined look at the surrounding world. Here are people, landscapes and odd little moments in and around Eggleston's hometown of Memphis--an anonymous woman in a loudly patterned dress and cat's eye glasses sitting, left leg slightly raised, on an equally loud outdoor sofa; a coal-fired barbecue shooting up flames, framed by a shiny silver tricycle, the curves of a gleaming black car fender, and someone's torso; a tiny, gray-haired lady in a faded, flowered housecoat, standing expectant, and dwarfed in the huge dark doorway of a mint-green room whose only visible furniture is a shaded lamp on an end table. For this edition of William Eggleston's Guide, The Museum of Modern Art has made new color separations from the original 35 mm slides, producing a facsimile edition in which the color will be freshly responsive to the photographer's intentions.

    These on-location workshops are usually reserved for a handful of photographers each year, but now you can learn the same techniques that Joe shares in his seminars and lectures in a book that brings Joe's sessions to life.What makes the book so unique is the "triangle of learning" where (1) Joe distills the concept down to one brief sentence. It usually starts with something like, "An editor at National Geographic once told me..." and then he shares one of those hard-earned tricks of the trade that you only get from spending a lifetime behind the lens. Then, (2) on the facing page is one of Joe's brilliant images that perfectly illustrates the technique (you'll recognize many of his photos from magazine covers). And (3) you get the inside story of how that shot was taken, including which equipment he used (lens, f/stop, lighting, accessories, etc.), along with the challenges that type of project brings, and how to set up a shot like that of your own.This book also gives you something more. It inspires. It challenges. It informs. But perhaps most importantly, it will help you understand photography and the art of making great photos at a level you never thought possible. This book is packed with those "Ah ha!" moments--those clever insights that make it all come together for you. It brings you that wonderful moment when it suddenly all makes sense--that "moment it clicks."

    Who are the makers and who are the takers? Readers can judge from themselves?

    In Daido Moriyama: How I Take Photographs , he offers a unique opportunity for fans to learn about his methods, the cameras he uses, and the journeys he takes with a camera.

    Lavishly printed in a unique quadratone mix by artisanal printer Gerhard Steidl, it offers an expanded look at "Cikáni" (Czech for "gypsies" )--109 photographs of Roma society taken between 1962 and 1971 in then-Czechoslovakia (Bohemia, Moravia and Slovakia), Romania, Hungary, France and Spain. The design and edit for this volume revisits the artist's original intention for the work, and is based on a maquette originally prepared in 1968 by Koudelka and graphic designer Milan Kopriva. Koudelka intended to publish the work in Prague, but was forced to flee Czechoslovakia, landing eventually in Paris. In 1975, Robert Delpire, Aperture and Koudelka collaborated to publish "Gitans, la fin du voyage" ("Gypsies," in the English-language edition), a selection of 60 photographs taken in various Roma settlements around East Slovakia. "Gypsies" includes more than 30 never-before-published images.

    Produced by the Hulton Getty Picture Collection. Publisher: Barnes & Noble. 398 pages. Hardback

    They reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the twenties and thirties, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announces the end of Soviet Union. Taking advantage of the collapsing monolithic structure, the holes of the widening net, architects revisited all the chronological periods and styles, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba sanatorium), others expressed their imagination in an expressionist way (Tbilisi wedding palace). A summer camp, inspired by sketches of a prototype lunar base, lays claim to its suprematist influence (Promethee). Then comes the speaking architecture widespread in the last years of the USSR: a crematorium adorned with concrete flames (Kiev crematorium), a technological institute with a flying saucer crashed on the roof (Kiev institute), a political center watching you like a Big Brother (Kaliningrad House of Soviet). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of privacy and it also outlines the geography of the USSR, showing how local influences made their exotic twists before bringing the country to its end.

    No other book has managed to relate the aesthetic evolution and technical innovations of photography with such an absorbing combination of clarity, scholarship and enthusiasm.

    His astonishing large-scale color photographs of the landscapes of mining, quarrying, railcutting, recycling, oil refining, and shipbreaking uncover a stark, almost sublime beauty in the residue of industrial “progress.” The implicit social and environmental upheavals that underlie these images make them powerful emblems of our times.This handsome catalogue of the first major retrospective of Burtynsky’s work features essays by Lori Pauli, Kenneth Baker, and Mark Haworth-Booth, as well as a wide-ranging interview with the artist by Michael Torosian. The book includes sixty-four color plates.

    This spectacular book brings together the most beautiful, memorable and evocative pictures of Steve McCurry's extraordinary career.

    The original edition of American Photographs was a carefully prepared letterpress production, published by The Museum of Modern Art in 1938 to accompany an exhibition of photographs by Evans that captured scenes of America in the early 1930s. As noted on the jacket of the first edition, Evans, "photographing in New England or Louisiana, watching a Cuban political funeral or a Mississippi flood, working cautiously so as to disturb nothing in the normal atmosphere of the average place, can be considered a kind of disembodied, burrowing eye, a conspirator against time and its hammers." This seventy-fifth anniversary edition of American Photographs, made with new reproductions, recreates the original 1938 edition as closely as possible to make the landmark publication available for a new generation. American Photographs has fallen out of print for long periods of time since it was first published, and even subsequent editions--two of which altered the design and typography of the book in small but significant ways--are often available only at libraries and rare bookstores. This version, like the fiftieth-anniversary edition produced by the Museum in 1988, captures the look and feel of the very first edition with the aid of new digital technologies.

    Gestalt theory and the psychology of visual perception form the basis for an analysis of art and its basic elements.

    And as with his photographs of the Mississippi, these images are less about natural wonder than human desire. "I went to Niagara for the same reason as the honeymooners and suicide jumpers," says Soth, "the relentless thunder of the Falls just calls for big passion." The subject may be hot, but the pictures are quiet, the rigorously composed and richly detailed products of a large-format 8x10 camera. Working over the course of two years on both the American and Canadian sides of the Falls, Soth edited the results of his labors down to a tight and surprising album. He depicts newlyweds and naked lovers, motel parking lots, pawnshop wedding rings and love letters from the subjects he photographed. We read about teenage crushes, workplace affairs, heartbreak and suicide. Oscar Wilde wrote, "The sight of the stupendous waterfall must be one of the earliest, if not the keenest, disappointments in American married life." Niagara brings viewers both the passion and the disappointment--a remarkable portrayal of modern love and its aftermath.

    It encourages you to explore every discipline and experiment with different approaches, hone your skills, and find your own personal style.There are two key features that make the book unique. The first is the structure. Almost invariably, photography books parcel up information in such a way that the technical elements of photography are dealt with separately from creative ideas, which in turn are dealt with separately from projects and genres. The Complete Photographer takes a completely different, holistic approach, with insights, ideas, tips, and techniques that focus specifically on each genre.The second unique feature is the "behind-the-scenes" coverage. Where Masterclass showcased the work of a number of professional photographers working in a variety of fields, The Complete Photographer goes further. It shows in step-by-step, photographic detail the planning, setting up, and shooting of 20 superb images taken especially for the book. In a running commentary, each photographer reveals the ideas and inspiration behind the shot, how decisions on location, lighting, camera angle, and props are arrived at, and, where relevant, demonstrates any image manipulation that has been carried out to produce the final image. Galleries of selected works are accompanied by notes on each image and how it was made.As with Digital Photography Masterclass, Tom's tutorials are presented in a highly visual, logical way that makes concepts easy to grasp. Images are grouped together to reveal how different approaches to the same subject can produce dramatically different results. Individual images are analyzed to show why they are successful, and how specific effects are achieved. Side-by-side comparisons highlight common problems and show how to avoid them. Each tutorial includes an assignment that encourages the reader to experiment, think outside the box, and practice new skills.The Complete Photographer will provide inspiration and be a beautiful book to look at, as well as delivering engaging, hardworking content that unlocks the secrets of success for the reader and provides a fascinating insight into the techniques of the professionals.The ContentsPrelims (7pp)general Introduction (2pp)1. Portraits (38pp)Formal and candid, in the studio and outdoors, individuals and groups, children and pets.Tom's tutorial (8pp)Image analysis (4pp)Assignment (4pp)Behind-the-scenes with... (12pp)Gallery (8pp)2. Landscape and nature (38pp)Different times of day and weather conditions. From breathtaking vistas to close-ups.Tom's tutorial (8pp)Image analysis (4pp)Assignment (4pp)Behind-the-scenes with... (12pp)Gallery (8pp)3. Fashion and street (38pp)Studio set-ups, on location, props and styling. Capturing moments on the city streets.Tom's tutorial (8pp)Image analysis (4pp)Assignment (4pp)Behind-the-scenes with... (12pp)Gallery (8pp)4. Wildlife (38pp)On safari and close to home, in the wild and in captivity, up close and in the environment.Tom's tutorial (8pp)Image analysis (4pp)Assignment (4pp)Behind-the-scenes with... (12pp)Gallery (8pp)5. Sport (38pp)Key moments, capturing action, the spirit and emotion of the sport.Tom's tutorial (8pp)Image analysis (4pp)Assignment (4pp)Behind-the-scenes with... (12pp)Gallery (8pp)6. Documentary (38pp)Finding and telling a story, observation,capturing decisive moments.Tom's tutorial (8pp)Image analysis (4pp)Assignment (4pp)Behind-the-scenes with... (12pp)Gallery (8pp)7. Events (38pp)Live music, graduation, wedding, new baby etc.Tom's tutorial (8pp)Image analysis (4pp)Assignment (4pp)Behind-the-scenes with... (12pp)Gallery (8pp)8. Travel (38pp)Spirit of place, capturing atmosphere, people. Cultural and social considerations.Tom's tutorial (8pp)Image analysis (4pp)Assignment (4pp)Behind-the-scenes with... (12pp)Gallery (8pp)9. Architecture (38pp)Ancient and modern, interior and exterior.Light and angles, details and wide views.Tom's tutorial (8pp)Image analysis (4pp)Assignment (4pp)Behind-the-scenes with... (12pp)Gallery (8pp)10. Fine art (38pp)Color and black and white, fine-art printing.Still life, abstracts, nudes, stock photography etc.Tom's tutorial (8pp)Image analysis (4pp)Assignment (4pp)Behind-the-scenes with... (12pp)Gallery (8pp)Index/Acknowledgments (11pp)

    After decades of patient work, Hopper enjoyed a success and popularity that since the 1950s have continually grown. Living in a secluded country house with his wife Josephine, he depicted the loneliness of big-city people in canvas after canvas. Probably the most famous of them, Nighthawks, done in 1942, shows a couple seated quietly, as if turned inwards upon themselves, in the harsh artificial light of an all-night restaurant. Many of Hopper's pictures represent views of streets and roads, rooftops, abandoned houses, depicted in brilliant light that strangely belies the melancholy mood of the scenes. Edward Hopper's paintings are marked by striking juxta-positions of color, and by the clear contours with which the figures are demarcated from their surroundings. His extremely precise focus on the theme of modern men and women in the natural and man-made environment sometimes lends his pictures a mood of eerie disquiet. In House by the Railroad, a harsh interplay of light and shadow makes the abandoned building seem veritably threatening. On the other hand, Hopper's renderings of rocky landscapes in warm brown hues, or his depictions of the seacoast, exude an unusual tranquillity that reveals another, more optimistic side of his character.